Arman de Caillavet 


Choosing a Career 


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Choosing a Career :a Play 
‘n One Act: by G. A. de 
Caillavet: Translated by 
Barrett H. Clark 


Samuel French: Publisher 
: 8-30 West Thirty-eighth Street : New York 


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GENERAL EDITOR 


Choosing a Career :a Play 
in One Act: by G. A. de 
Caillavet: ‘Translated by 
Barrett H. Clark 


Samuel French: Publisher 
28-30 West Thirty-eighth Street : New York 


CoPYRIGHT, 1915, 
By SAMUEL FRENCH 


P@ 
260] 
AI25C4E 


G. A. de CAILLAVET 


To mention Caillavet independently of his col- 
laborator, Robert de Flers, is most unusual: “ Flers 
and Caillavet” is a dramatist. For some fifteen 
years these men have written plays in which the art 
and personalities of the two are so welded together 
that it is impossible to distinguish which part was 
written by which. “L’Amour veille” (‘‘ Love 
Watches’), “Le Bois sacré” (“ Decorating 
Clementine’), ‘‘ Primerose,” and ‘ La Belle aven- 
ture’”’ (“ The Beautiful Adventure”) are among 
the comedies of these writers which are already 
known to the American stage, yet practically all 
their plays have been performed successfully in 
every important city on the Continent. The in- 
comparable wit, humor, charm and sprightliness of 
the Flers-Caillavet union have made it justly 
celebrated. 

Gaston-Armand de Caillavet began his dramatic 
career as director of a revue in a little theater on 
the second story of the Eiffel Tower. Here he 
produced short plays and here learned his first 
lessons for, as he once confessed, he had to come in 
the elevator with part of his audience and hear 
their remarks—which were at times irritatingly 
true. 

“La Chotx d’une carriére,” which is here for 
the first time presented to English readers, was one 
of these early efforts, though it was produced at 
another theater. It is pure farce, full of animal 


4 G. A. de CAILLAVET. 


spirits, frankly written for the sake of the amuse- 
ment found in the situations and the bright lines. 


When playing this little piece amateurs should 
bear in mind that even farce must not be over- 
acted. The situation and the personages will “ get 
over,” without undue emphasis. 

The text does not include very definite descrip- 
tion of furniture, “props,” or disposition of the 
stage. All the furniture that is needed is a table 
or dresser, to be placed in the upper left- or right- 
hand corner of the room; a chair somewhere near 
the center, and a piano. There are entrances center 
and right. The valises should contain the few 
articles enumerated in the text; also a small hand- 
mirror. 


CHOOSING A CAREER 


PERSONS REPRESENTED: 


La CHEVRETTE 
DuBo!s 

A WAITER 
COLETTE 


ScENE:—A _ small parlor at a sea-side resort in 
France. 


TIME :—The present. 





CHOOSING A CAREER 


ScENE:—A simple room in a hotel. For furnish- 
ing and disposition of the stage see the pref- 
atory note. A WAITER ushers in COLETTE 
and Dupois, who are in traveling clothes, and 
carry valises. 


Waiter. This way, Madame. 

Dusotis. (Sitting down) Whew! What a trip! 
I’m exhausted! 

WaITER. This room is Madame’s, the other is 
there. (He opens the door to the right) 

CoLeTTE. Is that my room? Why, there’s not 
even a bed? 

Waiter. We shall have one put in at once. The 
bathers at Anastasie-les-Bains are particularly nu- 
merous at this season, and we are doubling up on 
the rooms. This, for instance, is usually a sitting- 
room. 

CoLette. (Peering about toward the right) 
And this? 

Waiter. A clothes-closet. 

Dusois. Charming! One has to open the door 
in order to change one’s eufis! Coy 2 @ @No 

Waiter. These were our last vacant rooms. 
Madame will be very comfortable here. Monsieur, 
on the other hand, may be a trifle crowded, but he 
has a superb view. 

Dunots. There’s no window! 

Walter. .\ small one, Monsieur, and by stand- 
ing on a chair—— 


d 


8 CHOOSING A CAREER. 


CoLeTTe. Listen to me: You must give us bet- 
ter accommodations, and as soon as possible. This 
room is like a pill-box! 

Walter. The fresh-air is superb. However, 
we shall do all in our power, Madame. Your 
trunks will be brought up at once. (He goes out) 

CoLetTe. (Taking off her veil, and opening her 
valise) Now 

Dusois. You see, dear? What he says con- 
firms the doctor’s remarks. I know the air here 
will prove most beneficial. Aren’t you happy? 

CoLeTTE. Deliriously. 

Dusois. Ah! You're never satisfied! This 
seems very pleasant. And, if I’m the one who 
comes here for the cure, it was really you who de- 
cided me to take the step. 

CoLeTTE. (Between her teeth) Pooh! 

Dusotis. (Starting to leave) Well, I'll leave 
you to fix up, and run around to the spring and 
have my glass. I shan’t begin my massages until 
to-morrow. It seems there’s a wonderful masseur 
here, inventor of the Concentric and Eccentric 
Massage. Dr. Langlois wrote him to call on me 
the moment I arrived. They say he’s rather pe- 
culiar, but that he knows his business thoroughly.— 
See you later! (He goes out. COLETTE arranges 
her hair in front of the glass, powders her face, 
etc.) 


(Enter La CHEvrRETTE. He falls into the chair 
in which Duxzots has been sitting.) 





La CHEVRETTE. Whew, what a trip! I’m ex- 
hausted ! 

CoLetTe. (Not turning round) You've said 
that once before. 

La CHEvRETTE. No, I haven’t—you’re mis- 
taken. ; 

CoLeTTe. (Suddenly facing him) What! Oh, 
the man in the train?! You here, Monsieu ! 





CHOOSING A CAREER. 9 


La CHEVRETTE. (Rising—amiably) Madame, 
allow me to introduce myself. 

CoteTTe. I shall allow you to leave the room 
instantly. 

La CHEvRETTE. You wouldn’t think of sending 
me away without knowing who I am? 

CoLeTte. (Coldly) Monsieur, this is my room! 
Will you please go? 

La CHEvRETTE. (Jn despair) Ah, Madame, I 
am desperate! (Seats himself once more) 

CoLeTTE. (Outraged) Monsieur! 

La CHEVRETTE. (Quickly) Yesterday evening, 
Madame, I was accompanying a childhood friend 
of mine to the Lyons Station; I came straight from 
the table, you see. (He opens his overcoat and 
shows evening clothes) I was standing in the 
large court-yard. Happy, content with my lot, I 
paced back and forth 

CoLEeTTe. Please! 

La CHEvRETTE. (Authoritatively) Hush! A 
free heart palpitated within this thoracic box. (He 
strikes his chest)—Love!—Ah, then I knew noth- 
ing of its imperial subjection—only its occasional 
and vagarious manifestations.—I stood gazing at 
the starry vault of heaven. Before me,—indifferent 
rhythmic martinets!—two police-officers passed. 
I was happy 

CoLetre. (Starts to ring) I 

La CHEvRETTE. (Stopping her by a wave of the 
hand) You appeared! You stepped out of a tiny 
omnibus—burst from it like water from a fountain. 
I looked at you—then—ah! 

Cotette. (Trying to stop him) This is out- 
rageous ! 

La CHEvRETTE. (Undaunted) I followed in hot 
haste, and bought my ticket. The fellow who was 
with you—— 

CoLette. Is my husband. 

La CHEVRETTE. Your husband—indeed. A 











10 CHOOSING A CAREER. 


vulgar type—no appearance, no life—hardly a man! 

CoLeTTe. This is too much! 

La CHEVRETTE. It was only a snap judgment, 
of course! When he asked for “ Two firsts to 
Anastasie-les-Bains,” I said, “ Same for me!” I 
took the two tickets, followed you to your compart- 
ment; you took notice of me 

CoLteTTeE. I?! 

La CHEVRETTE. You recognized me just now! 
We rode side by side; we passed Melun, 
stopped at Montargis, scorched by Cosne and 
Nevers—on we sped, through salty Bourgogne, 
through the fertile Bourbonnais. We supped to- 
gether at Gien, and lunched at Neussargues—and 
—oh marvelous and happy portent!—the guard 
punched our tickets at the same time, as we were 
crossing the Roanne! Together we stepped out at 
Anastasie-les-Bains—If during that night of 
platonic intoxication I did not give words to the 
volcanic forces surging within me, it is because, 
Madame, I am cursed with the most ridiculous 
timidity—(He drinks a glass of water) 

CoLteTTeE. (Who cannot restrain her laughter) 
Is that all you have to say ?—very well; I am will- 
ing, Monsieur, to forgive you for this absurd rig- 
marole. I have to spend three mortal weeks in 
this impossible hole, and you have helped me pass 
five minutes of the time very pleasantly. That is 
all, now, isn’t it? (She bows) 

La CHEvRETTE. But, Madame—TI love you! 

Cotette. (Dryly) Monsieur—! 

La CHEvRETTE. I love you, I 

CoLetTteE. That is enough, Monsieur. I am 
married.—I don’t even know you. 

La CHEvRETTE. I beg your pardon—I’m so 
nervous: my name is Henri la Chevrette. I am 
an explorer 

CoLeTTE. My compliments! 

La CHEvRETTE. But, Madame, you would not 











CHOOSING A CAREER. II 


dream of showing the door to a man who has 
spent two years in the sands of the Sahara! 

CoLette. (Shrugging her shoulders) The 
Sahara? Really? 

La CHEVRETTE. When I returned I was wel- 
comed by the whole city of Paris! 

CoLetTtE. (Laughing) Well, I suggest that 
you introduce yourself to my husband. 

La CHEvRETTE. Delighted! 

CoteTte. I warn you, he is fearfully jealous. 

La CHEVRETTE. But so am I! Then you allow 
me to breathe the same atmosphere as you? Ah, 
the realization of my dream!—Madame, if I could 
but tell you how I loved you! But my blesséd 
timidity, you know 

Corette. I have already noticed it! 

La CHEVRETTE. Before you IT am mute— 
dumbfounded Y 4 en 

CoLeTTe. (side) “He's Crazy! 

La Cuevrette. While I cannot pretend to be a 
poet, I am an artist at times—I can dream 

CoLeTtTe. Listen to me, Monsieur—Monsieur—? 

La CHEVRETTE. La Chevrette. 

CoLetteE. Monsieur La Chevrette, this joke has 
gone quite far enough. I realize that at a water- 
ing-place one can be a little lax in these matters; 
I have no objection, either, to seeing you from time 
to tune, but let me repeat: I have a husband, and 
I] am devoted to him. 

La CHEVRETTE. Poor woman! 

CoLeTte. You are very tiresome! (Noise onf- 











side) 
La CHEVRETTE. \hat’s that? 
Corrette. My husband. 


[La Cilevrette. Your husband? T'll be run- 
ring.—[s this your room?-—Well, get Gustave out 
the way. 

Conretri. Gustave? 

La Crevritre., Your husband. 


12 CHOOSING A CAREER. 


CoLeTte. His name is Adolphe. 

La CHEvRETTE. We shall call him Gustave! 

CoLETTE. You are out of your mind! 

La CHEvRETTE. Get rid of Gustavus Adolphus. 
‘ef shall return in eight minutes! (He disappears, 
eft) 

CoLeTTeE. (Furiously) Eight minutes! Ha! 
Whom does he take me for!—Monsieur! (She 
goes to the door, while DuBots enters) 

Dusois. (Joyfully) I had two glasses. 

CoLeTTE. This is too much! 

Dusois. No? Two glasses—! I feel wonder- 
fully restored—this cure will do miracles for me— 

CoLeTTE. In eight minutes! 

Dusois. Eight minutes? That’s an exaggera- 
tion. 

CoLeTTE. Didn’t you see him? 

Dusots. Whom? 

CoLeTTE. The audacity! 

Dusois. I? 

CoLeTTE. You don’t understand—How out- 
rageous!—In eight minutes, I tell you! Here! 
Don’t you see? (Struck with an idea) That’s it! 
(Gathering together her valise and wraps) You 
take this room, I’ll take the other. 

Dusois. But—?! 

CoLteTte. (Carrying her things with her toward 
the door) Never mind, I can take them myself. 
—See you later! (She goes into the next room, 
closing the door after her) 

Dusois. What’s the trouble? Ah, Colette!— 
(Looking at his watch) That masseur ought to be 
here now—four o’clock! (He unpacks his valise, 
arranging the various toilet articles on the table) 





(Enter La CHEVRETTE, precipitately.) 


La CHEvRETTE. Here I am! 
Dusois. Ah, it’s you? I’m so glad to see you! 
(Bowing) Monsieur: 





CHOOSING A CAREER. 13 


La CuHeEvrette. Ah!—I—Monsieur—Hm!— 
Whew! 

Dusors. I was expecting you. 

La CHEVRETTE. What?—Ah, I—(A long pause, 
after which La CHEVRETTE, not knowing what to 
do, begins to laugh) 

Dupois. (Aside) He’s a jovial soul! (To La 
CHEVRETTE) To tell you the truth, I hardly ex- 
pected to see you before to-morrow. 

La CuHevreTTE. Ha! Ha! (Aside) He thinks 
I’m someone else! Whom, I wonder? 

Dupsors. Did you get Langlois’ letter? 

La CHEVRETTE. Langlois’ letter? 

Dupsots. Naturally—since you are here! 

La CHEvReETTE. Naturally—here I am! 

Dusors. You see, I’ve never had the honor of 
meeting you before. 

La CHEVRETTE. No, never met me!—Of course. 

Dusois. Of course—what? 

La CHEVRETTE. It’s too complicated to explain 
—an involved family matter. 

Dusots. I’ve never seen you before, but I should 
have recognized you at once, from Langlois’ de- 
scription. 

La CHEvRETTE. Of course—dear old Langlois! 
(Aside) Who the deuce—? 

Dusois. In that case there’s no need of going 
into details 

La CHEVRETTF. Of course, but still—do it, 
please! 

Dusots. No, no, I place myself entirely in your 
charge. A man who is so thoroughly competent as 
yourself—I leave it all to you! You understand—? 

La CHEvReETTE. Certainly—why, only yesterday 
I was thinking of you 

Dupots. Really? 

La CHEvRETTE, Yes, I kept repeating to myself: 
He is coming to-morrow, he is coming to-morrow 








14 CHOOSING A CAREER. 


—(He coughs) Hm—let me see, how do you 
spell your name? 

Dusois. (Surprised) Why—D-U-B-O-I-S—. 
Dubois. 

La CHEVRETTE. Indeed—and now (He is about 
to go) 

Dusois. No, no, I’d like some information. 
How, for instance, are you going to begin? 

La CHEVRETTE. Well, I—well, I intended to— 
no, I hardly think I shall tell you, but I know you 
will be satisfied. 

Dusois. I’m sure of it. You are so jovial, I 
see! 

La CHEvRETTE. (Rising) Iam. And now 

Dusois. (Retaining him) You are in a hurry. 
Let us chat a littlh—Do you like your work? 

La CHEvRreTTE. My w—? Hm—you know 

Dvusors. I have an idea—It’s just four o’clock 
now. We have time. Why not—? 

La CHEVRETTE. (Aside) Now I shall find out! 

Dusois. I can see how I shall like your work. 

La CHEvRETT. Of course—I’ll wait. (He sits 
down again) 

Dusois. No, no—now, I mean. Come! (He 
points inadvertently toward the piano) 

La CHEVRETTE. (Aside) The piano! Ah! 
(He goes toward the piano) You like it? 

Dupors. I adore music. 

LA CHEvRETTE. Here’s a military funeral- 
march. (He sits at the piano and plays a few bass- 
notes) 

Dusois. But 

La CueEvretTTe. There’s nothing remarkable in 
that. Do you like Wagner? Have you studied 
counterpoint? Adagio? 

Duesots. No! 

La CHEVRETTE. Pizzicato? Presto? Met- 
ronome? No? No? In that case, Monsieur, it 











CHOOSING A CAREER. 15 


is useless for you to pursue your studies with me. 
(He leaves the piano) 

Dusors. Well, what—? What has music to 
do with me? 

La CHEVRETTE. Oh? Why not say so at once, 
then ? 

Dusois. The idea! You area curious fellow !— 
Now, let’s not waste any more time. (He begins 
to unbutton his waistcoat) See—here—between 
my shoulders—makes it look as if my waistcoat 
were too narrow for me. Here, would you like to 
see? (He turns his back to LA CHEVRETTE) 

La CHEvRETTE. (Aside) He thinks I’m a 
tailor! 

Dusors. Well? 

La CHEVRETTE. (Brusquely) Button it up, 
now. (DuBois does so) Here. (He takes his 
pen-knife from his pocket and opens the bladc) 
Between the shoulders—yes. (He pretends to 
mark Dusors’ back as tf with a piece of tailors 
chalk) And here the cuff is too long. (He cuts off 
the lower part of the coat-sleeve) 

Dusors. Here, what are you doing? 

La CHEvRETTE. (Busily engaged, as he attacks 
the other sleeve helping Dusots off with his coat) 
One moment! You must have these sleeves cut 
right. Now— (He cuts off the other cuff) 

Dupors. (Alarmed) What the deuce! He is 
eccentric! I’m so glad Langlois told me before- 
hand! 


La CHEVRETTE. So Langlois told you—: Have 
you noticed—? Langlois foresees everything.—— 
Now, if you'll let me see your other clothes——’? 





Dusots. Indeed! Why you behave like a 
tailor! 

La CHeEvreTTE. (Astonished) Ah! What bad 
luck ! 

Dusois. I told you about my shoulders because 
I thought you'd like to know. 


16 CHOOSING A CAREER. 


La CHEvRETTE. (Aside) If I could only get 
out of this alive! (He tries again to make for the 
door, but Dusots grasps his arm) 

Dusois. Never mind. (He leads La CHEv- 
RETTE back to the chair, where he himself sits down. — 
La CHEVRETTE stands at his side) Now, a matter 
of graver importance: during the past year I have 
been subject to severe headaches, I’m losing my 
hair, and my blood is very thin. I ought to havea 
friction treatment every day. 

La CHEVRETTE. (Very much annoyed—aside) 
Friction—ha! So I’ma barber? What luck! (He 
seizes a clothes’ brush and violently rubs Dusots’ 
head ) 

Dusois. Ow! What are you doing now? 

La CHEvRETTE. My system! Your hair will 
grow again in six weeks’ time! All over you! 

Dusois. Thank you, I don’t care for that! 

La CHEVRETTE. You'll see! (Hands DuBois a 
hand-glass) There! 

Dusots. (Looking at himself) Fearful! 

La CHEVRETTE. How easy it is, Monsieur, to 
criticize! 

Dusors. Nonsense! Listen to me; you do too 
many things; if you want to succeed, you had bet- 
ter confine yourself to your profession, and not 
try to act the barber 

La CHEvRETTE. Then I’m not a barber?! 

Dusois. Ha! Ha! 

La CHEvRETTE. Not a barber! Then what 
am I? 

Dusots. No, indeed! I can feel what you are 
by the strength of your arm. What hands for a 
boxer! 

La CHEVRETTE. (Aside) Boxer!—Good! 
(To Dusors) On guard! 

Dusoris. (Going up to La CHEvRETTE) I’m 
sure this will benefit me—go straight ahead! 

La CHEvRETTE. Time! (La CHEVRETTE admin- 





CHOOSING A CAREER. 17 


isters on2 thrust after another, while Dusots, thun- 
derstruck, falls about the room) Right! Left! 
Uppercut! Direct! 

Dusors. Here, here! You're killing me! Stop! 
Stop! I’ve never seen anything like this. 

La CHEVRETTE. It’s my system. 

Dusors. Well, I don’t like your system; let me 
tell you that! You’re as bad as a boxer 

La CHEvVRETTE. What! As bad—? (He stops 
short) 

Dusors. Yes. 

La CHEvRETTE. Then I’m not one? 

Dusors. And to think that Langlois spoke of 
your great touch, your lightness! 

La CHEVRETTE. Curse Langlois! Listen to me: 
exactly what did Langlois say? I must know. 

Dusors. He said, “ You will notice at once how 
skilful he is.” You are simply ridiculous! 

La CHEVRETTE. Now, Gustave 

Dusots. Gustave? Whom are you speaking to? 
And let me tell you, you ! 

CoLceTTE. (Appearing in her door at the right) 
What is all this noise? 

La CHEvRETTE. Ah! Now! 

Dusors. I was told you were eccentric, but I 
couldn’: have believed all this possible! 

CoLeTTE. (To Dusots) What’s the trouble? 
Who is that man? 

Dusois. The masseur. 

CoLeTTe. He?! 

La CHEvRETTE. He’s crazy! (Aside) At last! 

Dusois. Don’t come near me, for the love of 
Heaven! The way decent people are treated here, 
huh! 

La CHEvretTTe. But, Monsicur 

Dupots. Keep away! I want nothing more to 
do with you! 

Co.ette. Now, now, dear. You were told that 
he had his little peculiarities—— 

















18 CHOOSING A CAREER. 


Dusors. Peculiarities! 

CoLeTTE. Get ready now; I feel sure he will 
prove most satisfactory. 

La CHEVRETTE. (Jn despair—to CoLeTTE) I, 
Madame? I a masseur? 

CoLeTTE. (Oratorically) And you said you 
cared for me, Monsieur! 

La CHEvVRETTE. That’s not the question! 

CoLeTTe. Ah! 

La CHEVRETTE. Anything else, Madame, and I 
shall be glad to do it. 

CoLETTE. To work, or never lay eyes on me 
again! 

La CHEVRETTE. But I’m not a masseur, Ma- 
dame. 

Dusots. You’re not a masseur? 

CoLeTTE. What, are you not ? 

Dusots. Vell, if you’re not a masseur, what are 
you doing here? 

CoLETTE. Yes—what indeed? 

Dusois. Who are you, then? Why did you 
force your way in here? (He is about to ring for 
a servant ) 

CoLeTTE. (Jntercepting him) No, no! (To 
La CHEVRETTE) Confess! (Yo Dusois) It’s 
another of his jokes. Remember what Doctor 
Langlois said. 

La CHEvRETTE. Langlois! Ha! 

CoLeTTE. Now, will you attend to my husband? 

Dusois. I refuse to allow him! 

CoLeTTeE. How childish, dear!—Sit down now. 

Dvusors. (Defiantly) Well, just to be agreeable 
to you! 

CoLeTTe. Begin with the right leg. (She forces 
La CHEVRETTE to kneel) 

La CHEVRETTE. (To COLETTE) Let me tell you 
one thing, Madame: never again shall I follow any 
one from the Lyons Station! 

Dupsots. Careful, there! 





CHOOSING A CAREER. 19 


CoteTteE. (To La CHERVETTE) How amusing! 

Dusols. (Languorously) Ah! (As La 
CHEVRETTE starts to work) 

CoLETTE. It is nice, isn’t it? (To La CHEV- 
RETTE) Now, the other! 

Dusois. (To La CHEVRETTE) Splendid, old 
man !—Have dinner with us, will you? 

La CHEvreTTE. Dinner? 

Dusors. Insist, Colette! 

CoLeTTe. If you like, dear. 

La CHEvRETTE. (Rising, still holding Dusots’ 
left foot in his hand) Madame, too good of you! 

Dusois. Wonderful effect! Marvellous! I feel 
twenty years younger already !—I think—I’m sure 
you'll pardon us?—I think we'll dine alone this 
evening.—And don’t forget to come to-morrow! 

La CHEVRETTE. (Preparing to go) Hm!? 

Dusois. And, if you would be so obliging, please 
turn on the electricity when you go? 

La CHEvReETTE. There is no electricity! 

Dusois. Never mind, then! 

La CHEvRETTE. Good-night. (He goes) 


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ROSALIE, by Max Mavurey. A “Grand Guignol” comedy in 
one act, fullof verve andclever dialogue. Rosalie, the stubborn maid, 
leads her none too amiable master and mistress into uncomfortable 
complications by refusing to open the front door to a supposed guest 
of wealth and influence. PRICE 25 CENTs. 


MODESTY, by Paut Herviev. A delightful trifie by one of the 
most celebrated of living dramatists. Prick 25 CENTS. 


THE ART OF BEING BORED, (Le Monde ot l’on 8’Ennuie), a 
comedy in three acts by EpOUARD PAILLERON. Probably the best- 
known and most frequently acted comedy of manners in the realm 
of nineteenth century French drama. It is replete with wit and 
comic situations. For nearly forty years it has held the stage, 
while countless imitators have endeavored to reproduce its fresh- 
ness and charm. PRICE 25 CENTS. 


A MARRIAGE PROPOSAL, by ANTON TCHEKHOFF, a comedy 
in one act, by one of the greatest of modern Russian writers. This 
little farce is very popular in Russia, and satirizes the peasants of 
that country in an amusing manner. PRICE 25 CENTS. 


THE GREEN COAT, by ALFRED DE Musser and EMILE AUGIER. 
A slight and comic character sketch of the life of Bohemian artists 
in Paris, written by one of France's greatest poets and one of her 
best-known dramatists. Price 25 CENTS. 


THE WAGER, by Grivuseprpe GIAcosaA. This one act poetic 
comedy, written by the most celebrated dramatist of modern Italy, 
was the author’s first work. It treatsof a wager made by a proud 
young page, who risks his life on the outcome of a game of chess. 
Price 2% Cents. 











THE LITTLE SHEPHERDESS, a poetic comedy in one act, 
by ANDRE Rivoire. A charming pastoral sketch by a well-known 
French poet and dramatist. Played with success at the Comédie 
Francaise. Price 25 CENTS. 


PHORMIO, a Latin comedy by TERENCE. An up-to-date version 
of the famous comedy. One of the masterpieces of Latin drama; 
the story of a father who returns to find that his son has married 
aslave girl. Phormio, the parasite-villain who causes the numerous 
comic complications, succeeds in unraveling the difficulties, and 
all ends happily. Prick 25 CENTS. 


THE TWINS, a Latin farce by PLAutUS, upon which Shake- 
speare founded his Comedy of Errors. PRICE 25 CENTS. 


THE BOOR, by ANTON TCHEKOFF. A well-known farce by the 
celebrated Russian master; it is concerned with Russian peasants, 
and portrays with masterly skill the comic side of country life. 
PRICE 25 CENTs. 


THE BLACK PEARL, by VICTORIEN SARDOU. Oneof Sardou’s 
most famous comedies of intrigue. A house has, it is thought, 
been robbed. But through skilful investigation it is found that the 
havoc wrought has been done by lightning. PRICE 25 CEN‘s. 


CHARMING LEANDRE, by THEODORE DE BANVILLE. The 
author of ‘‘ Gringoire’”’ is here seen in a poetic vein, yet the French- 
man’s innate sense of humor recalls, in this satirical little play, the 
genius of Moliere. PRICE 25 CENTS. 


THE POST-SCRIPTUM, by EmILe AvGIER. Of this one-act 
comedy Provessor Brander Matthews writes: “ $ : i one 
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language, and to be warmly recommended to American readers.” 
PRICE 25 CENTS. 


THE HOUSE OF FOURCHAMBAULT, by EMILE AUGIER. 
One of the greatest of recent French family dramas. Although the 
play is serious in tone, it contains touches which entitle it to a 
position among the best comedies of manners of the times. PRICE 
50 CENTS. 














THE DOCTOR IN SPITE OF HIMSELF, by Mourerse. A 
famous farce by the greatest of French dramatists. Sganarelle has 
to be beaten before he will acknowledge that he is a doctor, which 
he is not. Hethen works apparently miraculous cures. The play 
is a sharp satire on the medical profession in the 17th Century. 
PRIRE 25 CENTS. 


BRIGNOL AND HIS DAUGHTER, by Carus. The first 
comedy in English of the most sprightly and satirical of present- 
day French dramatists. Price 50 CENTS. 


CHOOSING A CAREER, by G.A. DE CAILLAVET. Written by 
one of the authors of “ Love Watches.” A farce of mistaken 
identity, full of humorous situations and bright lines. Prick 25 
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FRENCH WITHOUT A MASTER, by TRISTAN BERNARD. A 
clever farce by one of the most successful of French dramatists. 
It is concerned with the difficulties of a bogus-interpreter who 
does not know a wordof French. PRICE 25 CENTs. 


PATER NOSTER, a1 poetic play in one act, by FRANCOIS 
Corpprze. A pathetic incident of the time of the Paris Commune, 
in 1871. Price 25 CENTs. 








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